Considered himself as Eat Bulaga (1979) baby despite the show has been his rival for years. Four of his noon-time shows, including the latest Wowowee (2005), were direct competition to Eat Bulaga. He looks at eat Bulaga host Vic Sotto and Joey de Leon as his idols. Early in his career, he appeared in Sotto-De Leon movies.
He rose to fame in the late '90s as sidekick to big-named movie stars (like Phillip Salvador, Edu Manzano, Cesar Montano, Aga Muhlach, Vic Sotto and Joey de Leon) before making his own mark in the business as a TV host for ABS-CBN's now defunct noontime variety show, Magandang tanghali bayan MTB (1998).
Susan Roces and Amalia Fuentes were the reigning queens of the movie industry in the 1960s. Susan had worked with Dolphy on many occasions and she has been a witness of the humility and generosity of the King of Comedy.
Issues and concerns about squatting were depicted in Philippine movies for several years. Based on an annex of a study made by the Asian Development Bank (ADB), squatting in the Philippines was brought about by an interplay of facors, such as rural-urban migration, distortions in the land and housing market, corruption and collusion of government agencies, weak economy, inadequate and unstable employment and income opportunities, ineffective law enforcement, and the operation of squatting syndicates. The said study also mentioned that the squatting phenomenon started in the 1950s.
Often dubbed the grandfather of smooth jazz, he was also responsible for pioneering the jazz-funk genre. His father taught him to play the saxophone when he was ten years old and was playing in popular jazz clubs within two years.
Watch a two hour movie (chick flick) with my wife or a 2 hour you tube video on records? Tommy sounded fantastic! I'd love to have another 2 hour video on random records from your collection and the stories behind them.
I'm a little younger than Michael (I was in High School when he was in College), which might explain why I find his list of 100 too heavy on Jazz for my taste. I did go see Bola Sete live in '67 (the father of the guitarist in my garage band was an amateur Jazz drummer, and took us to that show in Los Gatos, CA as well as to see Cream and Hendrix at The Fillmore and Winterland. Mighty hip dad, but he wouldn't smoke Jazz cigarettes with us ;-). I do love Ellington and Basie, though, and Mose Allison too.
Chilly air? Overcast skies? Rain-soaked streets? What better way to avoid gloomy weather than indoors at the multiplex. No other major festival is as conducive to moviegoing as the Rotterdam International Film Festival, where winter doldrums are cast away under a rainbow of cinephile's delights....
Another Rotterdam highlight during the festival's first weekend was the unveiling of the first version of John Cassavetes' "Shadows" -- a movie that the actor/director re-shot extensively and which is widely cited, in its most famous and familiar form, as the progenitor of the modern American independent film movement. Film professor and longtime Cassavetes scholar Ray Carney presented the movie, which screened only five times and then was lost for 45 years. Before his death in 1989, Cassavetes told Carney that he had long given up on ever finding the movie.
Turns out the film was left somewhere in the New York subway system, and after a year of languishing there in the lost and found was sold for pocket change around 1960 to a man who hoped he was actually buying a porn film. After realizing the truth, the disappointed film buff put the movie in his attic and promptly forgot about it. Only after his death did his grandchildren think to even look at the movie. "Needles in haystacks? That's easy compared to this!" said Carney about the remarkable discovery that was made only two months ago. And what a revelation: painstakingly transferred to digibeta to protect against the fragility of the film, this "Shadows" is remarkably well-preserved and offers a riveting look into the director's creative process.
When asked why Carney brought the film to Rotterdam instead of America's own premier independent film event, Sundance, he explained that Sundance had turned him down. "Their programmers said the festival had OD-ed on Cassavetes recently," he said. "And besides, they felt their audiences wouldn't be interested. I see Rotterdam as a blessing in disguise -- I think more people here appreciated the movie." All the more reason to hail this Dutch festival as a true bastion for hard-core film lovers.
After a decade and a half of phone calls, announcements and interviews, a friend of Carney's put him in contact with the woman who eventually found the film. She said her father, who ran a second hand "junk shop" had bought a film with a similar name at a New York City subway lost-and-found sale. (Click here for information about a typical subway sale.)
"Writing that book was some of the most fun I've ever had in my life," he said. "It was like doing a crossword puzzle. By figuring out all the downs, I could figure out what the acrosses were. I was about 95 percent correct, so it was almost boring to look at the actual movie after that."
The reappearance of this extinct creature is due to Ray Carney, a Boston University film scholar who spent years in search of this particular grail. The provenance is still mysterious. Carney, who must utter the word "Cassavetes" more times in a day than most people take a breath, credits the New York City Transit Authority. The movie was apparently left on the subway sometime after its screenings at the 92nd Street Y. Who lost it and how exactly the professor found it remain to be explained.
It's not generally known that John Cassavetes, often called the father of American independent film making, made his first film Shadows twice. He initially shot the film in 1957. But after the print was screened a few times in 1958, he decided to re-shoot much of the movie. In 1959 he deleted approximately two-thirds of the footage, replaced it with newly shot material, and screened a different edit. Some time after that, the first version (which had existed only as single 16mm print) disappeared. Even Cassavetes had no idea what had become of it. For 45 years the first version has been one of the legendary unseen works of cinema, generally believed to have been lost forever. However as a result of a conversation with Cassavetes shortly before the film maker's death, Professor Ray Carney, the leading expert on the director's work, decided that the first version might still survive. From 1987 until the present, he spent his time pursuing scores of leads -making thousands of phone calls and other enquiries, talking to surviving members of the cast and crew and anyone who might have information. Finally this indefatigable and long search paid off. In November, 2003, the first version of Shadows was discovered in the attic of a house in Florida. After 45 years, the world will again have the opportunity to see Cassavetes' actual first film.
He succeeded only a few months ago, when he got in touch with a woman whose father had inadvertently purchased it in the '60s, in a lot with other items lost on the New York subway. The buyer was reportedly disappointed it wasn't a porn film.
If the American indie movement had a godfather, it was undoubtedly Cassavetes, who shot his semi-improvised features on the cheap, with money raised from acting jobs and, in this case, contributions from listeners to Jean Shepard's famed late-night radio show. Cassavetes' first feature, a landmark declaration of cinematic independence, was right at home in Rotterdam. Carney first offered the film to Sundance, but it turned him down.
Johnny Pacheco made his mark during the 1960s and 1970s as part of New York City's Latin music scene. Pacheco was born in Santiago de los Caballeros, Dominican Republic. His father, Rafael Azarías Pacheco, was a prominent clarinetist and conductor of the Orquestra Santa Cecilia, a leading Dominican orchestra. In the late 1940s his family moved to New York City. Johnny Pacheco learned to play saxophone, flute, and percussion in high school. In 1959 Pacheco joined the pianist Charlie Palmieri as the flutist in the newly formed group Charanga Duboney.
jazz and soul tenor saxophonist, was born Harold Edward Vick in Rocky Mount, North Carolina, to Alice (maiden name unknown). Other details about his parents, including the name of his father, are unknown. Vick took piano lessons at age eight for a few months but without serious interest. He began clarinet lessons at age twelve, and the following year he was given a good instrument by his uncle, the renowned jazz clarinetist and tenor saxophonist Prince Robinson. Two or three years later Vick began playing tenor saxophone while continuing his clarinet studies with Charles Woods at Booker T. Washington High School in Rocky Mount. During this period he was raised by his grandparents. 2b1af7f3a8